@c + Liac-en.pdf · @c Pedro Tudela + Miguel Carvalhais @c ≥ “70” in “Atlantic Waves 2007 Festival Sampler”, Fundação Calouste Gulbenkian, 2007 ≥ “67” in “Airport

@c Pedro Tudela + Miguel Carvalhais

@c www.at-c.org last updated December 2012

@c


@c www.at-c.org

Very vibrant music, bouncing off in all directions, like vivid and rapid change of styles with some odd moments of rest.Microsound gone macrosound? @c have something unique at their hand. (Frans de Waard, Vital Weekly)


@c www.at-c.org

@c

Miguel Carvalhais and Pedro Tudela collaborate as @c since 2000. Their work is developed from three

complimentary approaches to sound art and digital music: procedural composition, concrete music

and improvisation. Over the years they have been developing complex and structured compositions,

with one foot in the fields of experimental contemporary sound art and the other in live performance.

If their compositions are usually built around strong structural foundations, it’s also common that

multiple cells of sound are freed from these structures when integrated into the work, developing

elaborate strategies of deconstruction.

Improvisation, either in dialogue or discussion, is central to @c’s performances, as is the will to create

open compositions and to nurture ongoing processes that digitally amplify sound realities.

Miguel Carvalhais (Porto, 1974) is a communication designer and a musician. He teaches at the

Design Department in the University of Porto.

Pedro Tudela (Viseu, 1962) is an artist, musician and stage designer. He teaches at the Painting

Department in the University of Porto.

In 2003 Carvalhais and Tudela were among the founding partners of the Crónica media label that they

run since then.


@c www.at-c.org

@c + Lia

@c + Lia perform as a digital audiovisual trio, Miguel Carvalhais and Pedro Tudela operating the audial

layer as Lia performs the visual instrumentation.

Built upon composed and strong structural starting points, each performance is distilled from ongoing

laboratory work and becomes unique in its balance between minimalism and complexity, dynamics and

contrasts, due to a free-form approach to composition, algorithmic improbability and improvisation.

@c + Lia are known for their mature and rigorous approach to the manipulation of immaterial data,

for the mixture of techniques, media and allocations related to the objective essence of audiovisual

composition. They ‘perform’ intuitions and organize the imponderable in a very unique kind of ‘stage

writing’.

Lia is based in Vienna, Austria. She teaches at the Fachhochschule Joanneum in Graz, Austria.


@c www.at-c.org


@c www.at-c.org

Releases

≥ “Re:Fujaco”, Galaverna, 2012

≥ “95 (ab Ovo)”, Fuga Micro Ediciones, 2012

≥ “Homem Fantasma”, Crónica, 2011

≥ “0°-100°”, Monochrome Vision, 2010

≥ “Music For Empty Spaces”, Baskaru, 2010

≥ “30x1.3”, Alg-a, 2010

≥ “48EDE”, Ristretto, 2008

≥ “Up, Down, Charm, Strange, Top, Bottom”, Crónica, 2008

≥ @c + Vitor Joaquim: “De-tour”, Feld, 2007

≥ “65”, post.disco, 2007

≥ “Study”, Grain of Sound, 2006

≥ “PE ep”, Alg-a, 2006

≥ “42/44”, Silence Is Not Empty, 2006

≥ “48”, Ristretto, 2005

≥ “Folio, recompiled compositions 2003&4”, Fuga Discos, 2005

≥ @c / M. Behrens / P. Raposo: “Product”, Crónica, 2004

≥ “v3”, Crónica, 2004

≥ “Hard Disk”, Crónica, 2003

≥ “+”, Variz, 2001

Releases in compilations and collaborations

≥ “Live at Opensound” in “Crónicast 100”, Crónica, 2012

≥ “Novantuno (per Enrico)” in “Loud Listening”, Crónica, 2011

≥ “Noventa [para Heitor]” in “Poststop”, Crónica, 2011

≥ “88 (two firsts)”, in “Fuga 15 años”, Fuga, 2011

≥ “quatre-vingt-sept (pour Essmaa)”, in “ESSMAA”, Tsuku Boshi, 2010

≥ “Live at Vigo Transforma”, in “Symbiosis podcast”, 2010

≥ “Sechsundachtzig (für Ephraim)”, in “Ephraim Wegner: Audible Landscapes”, Crónica, 2010

≥ “K./85”, w/ Gintas K. in “Crónica L”, Crónica, 2010

≥ “Study #40”, in “Optofonica”, Line, 2009

≥ “53”, in “Quadros”, Fuga Discos, 2009

≥ “78”, soundmuseum.fm, 2009

≥ “74”, in “Sudamericaelectronica 2”, 2009

≥ “LXDolceVita”, w/ Vitor Joaquim, in “SonicScope 2008 Live”, Grain of Sound, 2008

≥ “68” and “73“, in “Mus*****c”, Crónica, 2008

≥ “live with Aki Onda and Gert-Jan Prins” in “Crónicast 025”, Crónica, 2008

≥ “GSIL VI / almada” in “The Gift of Sound and Vision (1997-2007)”, Hoanzl / Der Standard / Filmarchiv

Austria, 2007


@c www.at-c.org

≥ “70” in “Atlantic Waves 2007 Festival Sampler”, Fundação Calouste Gulbenkian, 2007

≥ “67” in “Airport Symphony”, Room 40, 2007

≥ “Soixante-quatre (@c pour T.B.S.)” in “The Beautiful Schizophonic: Musicamorosa”, Crónica, 2007

≥ “Rádio_int. 14/37” in “Art_clips .ch.at.de”, Zentrum für Kunst und Medientechnologie Karlsruhe,

2006

≥ “blues” in “Crónicast 016”, Crónica, 2006

≥ “56E1” in “Compilatorio #2”, Alg-a, 2006

≥ “int.16/54//son01/30x1” in “Sonic Acts XI - The Anthology of Computer Arts”, Sonic Acts, 2006

≥ “live @ Rua do Rosário 141, Porto” in “Crónicast 008”, Crónica, 2006

≥ “49” in “Santa’s Only Lap Of Luxury”, Silence Is Not Empty, 2005

≥ “int.15/51” in “Portugal, a New Sound Portrait”, Fonoteca Municipal Lisboa & N_Records, 2005

≥ “Radio_Int.14/37”, in “Essays on Radio: Can I have 2 minutes of your time?”, Crónica, 2005

≥ “int.13/35” (video by Marius Watz), in “Essays on Radio”, Crónica, 2005

≥ “int.13/35”, in “Essays on Radio”, Crónica, 2005

≥ “int.11/45”, in “Untitled Songs, 49 Years from ‘Gesang der Jünglinge’ (2005-1956)”, Sirr, 2005

≥ “int.12/46”, in “35 Mutant Seconds”, Grain of Sound / Baskaru, 2005

≥ “int.9/39”, in “Overshadow”, antmanuvMicro, 2005

≥ “int.7/28 (interpretación visual de Diego Arandojo)”, in “Fuga Experimental”, Fuga Discos, 2004

≥ “int.10/34”, in “The Wire Tapper 12”, The Wire Magazine, 2004

≥ “HardVideo / GSIL XIX”, in “Sonic Fiction, Synaesthetic Videos from Austria”, Index, 2004

≥ “int.6/29”, in “Clicks & Cuts 4”, Mille Plateaux Media, 2004

≥ “int.8/30”, in “Loop 01”, Loop.cl, 2004

≥ “int.7/28”, in “Fuga Experimental”, Fuga Discos, 2004

≥ “GSIL XXX/int.5/27”, in “Edition Medienturm”, Medienturm, 2004

≥ “int.4/16”, in “Exploratory Music from Portugal, 03”, Fundação Calouste Gulbenkian, 2003

≥ “int.3/15”, in “On Paper”, Crónica, 2003

≥ “GSIL XII / +”, in “Austrian Abstracts 02”, Lanolin, 2002

≥ “int.2/08 (metrodub)”, in “Metrómetro”, Variz, 2002

≥ “GSIL VI / almada” (video by Lia), in “Austrian Abstracts 01”, Lanolin, 2001

≥ “int.1/00 (via_dut25)”, in “Portuguese Electr(o)domestic Tracks 1.0”, Variz, 2001


@c www.at-c.org


@c www.at-c.org

Selected @c performances

2012.09.10 ICMC, Španski Borci, Ljubljana

2012.02.18 Electric Spring, University of Huddersfield

2011.12.07 Instituto Cervantes, Roma

2011.05.21 Vozes de Magaio, Aldeio do Fujaco, São Pedro do Sul

2011.05.10 Ar.Co, Lisboa

2010.12.03 Next Festival, Bratislava

2010.11.25 Sonicscope, Teatro Maria Matos, Lisboa

2010.07.02 Vigo Transforma

2010.05.23 Museu de Serralves, Porto

2009.06.25 Sonica:Post, Galerija Jacopic, Ljubljana

2009.05.19 LEM, MACBA, Barcelona

2008.10.10 Auditorio Nacional de Musica, Madrid

2008.03.15 Netwerk, Aalst

2007.11.10 Atlantic Waves Festival, ICA, London

2007.07.12 Philharmonie, Essen

2006.11.11 Festival de Música de Coimbra, TAGV, Coimbra

2006.07.16 Festival Internacional de Música de Tarragona, La Vaqueria

2006.03.29 Museu do Chiado, Lisboa

2005.09.24 EME, Capela de Santiago, Castelo de Palmela

2005.07.16 Metasonic.lx, Goethe Institut Lissabon, Lisboa

2005.04.30 Mülheimer Freiheit 126, Köln

2005.04.29 Hörbar, Hamburg

2005.04.28 Ausland, Berlin

2005.04.26 Weezie, Leipzig

2005.04.24 Fluctuating Images, Stuttgart

2005.04.23 Ateliefrankfurt, Frankfurt

2004.11.19 Videozone 2, Jah Pan, Tel Aviv

2004.06.12 Casa dos Dias d’Água, Lisboa

2004.06.06 Casa de Serralves, Porto

2003.05.24 Teatro Viritato, Viseu

2002.05.23 IFI, Faculdade de Bellas Artes de Pontevedra

2000.11.24 Blue Spot, Coliseu, Porto

2000.11.11 BRG 2000, Braga

2000.06.29 Ear Modulations, Museu Serralves, Porto

2000.03.23 Aniki Bóbó, Porto


@c www.at-c.org

Selected @c + Lia performances

2010.12.02 Next Festival, Bratislava

2009.10.03 Ex chiesa di S. Bevignate, Perugia

2008.05.10 Offf, LX Factory, Lisboa

2008.04.26 EMAF, Haus der Jugend, Osnabrück

2007.11.03 Olhares de Outono, Universidade Católica, Porto

2007.09.21 N.A.M.E. Festival, Planetarium, Villeneuve d’Ascq

2007.09.20 N.A.M.E. Festival, La Condition Publique, Roubaix

2007.09.09 Ars Electronica, Brucknerhaus, Linz

2007.09.05 ICA, London

2007.04.28 La Casa Encendida, Madrid

2007.03.31 Pixelache, Kiasma, Helsinki

2007.02.03 Casa da Música, Porto

2006.01.28 Netmage 6, Palazzo Re Enzo, Bologna

2005.03.03 Zemos98_7, Sala Endanza, Sevilla

2004.09.17 Hi-TeCA, Teatro de Carlos Alberto, Porto

2003.11.28 Ultrasound, Huddersfield

2003.11.27 Atlantic Waves Festival, London

2003.11.21 Transmediale Extended, Museo de Arte Contemporaneo, Santiago de Chile

2003.10.04 CCB, Lisboa

2003.03.22 Lovebytes, Showroom Cinema, Sheffield

2003.02.22 Sonic Light, Paradiso, Amsterdam

2003.02.21 Sonic Light, Paradiso, Amsterdam

2003.01.25 Vademecwm, Vigo

2002.07.16 Aveiro_síntese, Aveiro

2002.06.07 Digital Art Generation, Public Netbase, Wien

2002.03.22 Offf, Universidad Pompeu Fabra, Barcelona

2002.02.06 Club_transmediale, E-werk, Berlin

2002.02.05 Transmediale, Haus der Kulturen der Welt, Berlin

2001.05.13 Stealing Eyeballs, K/Haus, Wien

2000.10.18 Co-lab, Rivoli, Porto


@c www.at-c.org

Awards

2007 Prix Ars Electronica:

Honorable mention for @c + Lia in the Hybrid Arts category.

2006 Diagonale Graz:

int.16/54//son01/30x1: prize for innovative cinema of Stadt Graz; Best innovative experi-

mental, animation or short film 2005/2006

2005 Multimedia Awards ICAM/Número Festival:

Honorable mention for @c + Lia in the category Music: Hybrid Music / Sound / Image proj-

ects


@c www.at-c.org


@c www.at-c.org

Tech rider for @c performances

PA system: High quality PA system with frequency response from 25 Hz to 20 kHz (ex Martin, D&B,

Meyer, Turbosound or equivalent). The PA should be rigged and free of noise or hum. A local technician

familiar with the PA should be at hand. We cannot not be responsible for damages caused by faulty or

under-powered PA setups. Important Whenever possible a 4-channel setup is preferred to 2-channel

stereo.

Mixer: One Mackie or similar high-quality mixer for stage usage. (6 inputs for stereo setups or 12 inputs

for 4-channel setups)

Monitoring: 2 or 4 high quality wedge monitors.

Backline / diverse:

– 2 x small tables or 1 big table;

– 2 x chairs;

– Power outlets, 220V european, grounded;

– Comfortable backstage with light food, drinks and snacks.

People / accomodation / food: Miguel Carvalhais and Pedro Tudela travel from Porto, Portugal and

need top be provided with accomodation. Accomodation should include breakfast. Please try to find

accomodation that provides wireless internet access. In addition to light snacks and drinks backstage,

arrangements should be made for the artists to have a warm meal (vegetarian) before the performance.

The artists should also be given complimentary drink coupons (3 or so each).

Insurance: The promoter or venue should have an insurance policy to cover risks arising from personal

accidents suffered by the artists or their personnel, and damage caused to material, always providing

that said accidents or damages were not attributable to said personnel. The promoter or venue should

pay the artists the sum of the eventual compensation received for damages suffered by the artists in

person, the artists team or equipments.

Questions: Please contact Miguel Carvalhais on [email protected] or +351 960 190 001.


@c www.at-c.org

Tech rider for @c+Lia performances

PA system: High quality PA system with frequency response from 25 Hz to 20 kHz (ex Martin, D&B,

Meyer, Turbosound or equivalent). The PA should be rigged and free of noise or hum. A local technician

familiar with the PA should be at hand. We cannot not be responsible for damages caused by faulty or

under-powered PA setups. Important Whenever possible a 4-channel setup is preferred to 2-channel

stereo.

Mixer: One Mackie or similar high-quality mixer for stage usage. (6 inputs for stereo setups or 12 inputs

for 4-channel setups)

Monitoring: 2 or 4 high quality wedge monitors.

Backline / diverse:

– 2 x small tables or 1 big table;

– 3 x chairs;

– Power outlets, 220V european, grounded;

– Comfortable backstage with light food, drinks and snacks.

Video equipment:

– Video projector, min. 5000 ANSI Lumen, must have zoom and other options for easy setup;

– Projection screen: As big as possible, consult with us if necessary;

– Long VGA cable, from computer (on stage) to projector.

Projection should be planned in advance, and a video technician should be on hand to do the video

setup. Whenever possible we can plan the performance with a two-projection setup.

People / accomodation / food: Miguel Carvalhais and Pedro Tudela travel from Porto, Portugal. Lia

travels from Vienna, Austria. The three need to be provided with accomodation. Accomodation should

include breakfast. Please try to find accomodation that provides wireless internet access. In addition

to light snacks and drinks backstage, arrangements should be made for the artists to have a warm

meal (vegetarian) before the performance. The artists should also be given complimentary drink

coupons (3 or so each).

Insurance:

The promoter or venue should have an insurance policy to cover risks arising from personal accidents

suffered by the artists or their personnel, and damage caused to material, always providing that said

accidents or damages were not attributable to said personnel. The promoter or venue should pay the

artists the sum of the eventual compensation received for damages suffered by the artists in person,

the artists team or equipments.


@c www.at-c.org

contact:[email protected]+351 960 190 001


@c www.at-c.org

www.at-c.org

Documents

@c + Liac-en.pdf · @c Pedro Tudela + Miguel Carvalhais @c ≥ “70” in “Atlantic Waves 2007 Festival Sampler”, Fundação Calouste Gulbenkian, 2007 ≥ “67” in “Airport